ADSA Performance as Research Guidelines

The relationships between performance, research and scholarship in drama, theatre and performance studies have been of critical importance to ADSA and its members for more than two decades now. The ADSA Performance as Research Guidelines offer a comprehensive articulation of policies, approaches, practices, and issues impacting on the production of performance as research, particularly advise on producing performance as research in Australia, New Zealand and the Pacific.

What’s Mime got to do with it?

What has Mime got to do with Corporate Communication? As a professional Mime artist on both stage and screen for more than 25 years, the author has been adapting and applying the techniques of Mime to the corporate communication context over a number of years, coaching corporate CEO’s, Executives and Managers, representing both public and private sector corporations and organisations. This unusual inter-contextual skill transfer is the subject of both a book and series of VODCasts by the author (currently in the final stages of completion), which form part of the author’s Doctoral Research and from which this paper is substantially drawn. The author’s professional background is multi-disciplinary – encompassing theatre, television, media, music, tertiary education and corporate training contexts. It is also inter-disciplinary – concerned with the commonality of different artistic mediums and forms and how, where and why these professional disciplines: intersect; interact, and inform each other – and therefore how they support each other - rather than losing creative/professional opportunities because of areas where they might conflict. This paper examines in particular the physicality of presentation and communication – beyond ‘generic’ body-language analysis. It involves the analysis, manipulation and stylisation of human physicality to support and enhance individual inter-professional communication, and how mime performance skills specifically, inform that process. This paper discusses:- • how mime skills clarify and enhance inter-professional communication. • what adaptations need to be applied in that context • getting a ‘performance’ from ‘non-performers’

The cooling steam of the Polar Express : historical origins, properties and implications of performance capture

As the first academically rigorous interrogation of the generation of performance within the global frame of the motion capture volume, this research presents a historical contextualisation and develops and tests a set of first principles through an original series of theoretically informed, practical exercises to guide those working in the emergent space of performance capture. It contributes a new understanding of the framing of performance in The Omniscient Frame, and initiates and positions performance capture as a new and distinct interdisciplinary discourse in the fields of theatre, animation, performance studies and film.

Directing experience : an exploration of active analysis and visual cognition theory in the training of contemporary directors

The focus of this research is the creation of a stage-directing training manual on the researcher's site at the National Institute of Dramatic Art. The directing procedures build on the work of Stanislavski's Active Analysis and findings from present-day visual cognition studies. Action research methodology and evidence-based data collection are employed to improve the efficacy of both the directing procedures and the pedagogical manual. The manual serves as a supplement to director training and a toolkit for the more experienced practitioner. The manual and research findings provide a unique and innovative contribution to the field of theatre directing.

Domestic ecologies : gender and domesticity in Harold Pinter's Rooms

Harold Pinter's work opens the walls to the relatively closed rooms of domesticity. The room of the love affair, the unpredictable liaison, the cramped cluttered rooms of poverty and the disaffected. This study uses Pinter's rooms to analyse existing ideologies of gender, territory, power and domesticity. Pinter's rooms are more often than not reflections of familiar domestic spaces. This research investigates Pinter's rooms through a case study of a theatre set for one of his plays and textual analysis of selected works, developing an understanding of how Pinter's characters reflect behaviours within the domestic environment, mimicking while subverting domestic ecologies.

Sexual abuse prevention education

Child sexual abuse is a serious problem that has received increased attention in recent years. From an ecological perspective, in which social problems are viewed in the context of characteristics of individuals, families, and broader societal systems (Prilleltensky, Peirson, & Nelson, 2001), preventing child sexual abuse involves strengthening capacity to intervene at individual, family/relationship, school, and community levels. School-based education programs have been developed in efforts to prevent child sexual abuse before it happens and to provide children who may already be experiencing it with help seeking information. Use of these programs must be based on evidence rather than ideology. Evaluations of these programs have demonstrated that sexual abuse prevention education can provide children with improved knowledge and skills for responding to and reporting potential sexual abuse. However, this learning does not seem to be maintained over time which means further attention should be given to repeated learning, opportunities for concept reinforcement and integration with other topics. School-based programs typically present information to children by presenting a series of core concepts and messages which are delivered using engaging pedagogical strategies such as multi-media technologies, animations, theatre and songs, puppets, picture books, and games. This chapter will outline the key characteristics of effective child sexual abuse prevention programs, and will provide directions for future research and practice.

The road we're on

The creative development and direction of THE ROAD WE'RE ON (Book by Stephen Carleton, Music by Scott Saunders), commissioned by the Queensland Music Festival and the Murweh Shire Council. The was a site-specific, community-driven music theatre production produced and performed in Charleville and involved over 100 local artists and the communities of western Queensland.

In-hospital mortality rates after a cemented femoral component for displaced neck of femur fractures

Aim This prospective cohort study investigated whether the use of preoperative anticoagulants is an independent risk factor for the outcomes of surgical treatment of patients with a neck of femur fracture. Methods Data was obtained from a prospectively collected database. All patients admitted for a neck of femur fracture between Nov 2010 and Oct 2011 were included. This resulted in three hundred twenty-eight patients with 330 neck of femur fractures. Four groups were defined; patients preoperatively (i) on aspirin (n = 105); (ii) on clopidogrel (n = 28); (iii) on warfarin (n = 30), and; (iv) without any anticoagulation history (n = 167, the control group). The non-warfarin group included the aspirin group, clopidogrel group and the control group. Primary outcome was the in-hospital mortality. Secondary outcomes were the postoperative complications, return to theatre and length of stay. Results Thirteen in-hospital deaths were identified, 4 deaths in the aspirin group, 1 death in the clopidogrel group, 2 deaths in the warfarin group and 6 deaths in the control group. No significant difference in the mortality rates was found between the different groups. Also in the secondary outcomes, no significant difference was found between the four groups. A trend to a higher wound complication rate for the warfarin group was detected. Conclusion The use of clopidrogel or aspirin pre operatively is not an influence on short term patient outcome for patients with a neck of femur fracture. Surgical procedures should not be delayed to reverse their influence.

Joy fear and poetry

Joy Fear and Poetry is an original performance work written, designed and directed by Natasha Budd in collaboration with 15 performers aged 7-12 years. It was performed in Brisbane as part of La Boite Theatre’s 2013 Indie Season. The production employs contemporary performance, postdramatic and constructivist methodologies to make an intervention into habituated patterns of positioning children in society. It embodies a model of practice that moves beyond participant empowerment toward a more nuanced process of co-artists creating intersubjective ‘composite texts’ (McCall 2011) for mainstream audiences. Joy Fear and Poetry experiments with techniques for performance making that create conditions conducive to authentic theatre making with children. These focus on dramaturgical, directorial and design strategies harnessed to maintain the performers’ focus, motivation and cognitive engagement within a reflexive, collaborative process.

The Soldier's Wife (LP)

Audio recording of 10 tracks funded by Legacy, The Australia Council, and Arts Queensland. The recordings explore the untold stories of soldiers' wives through song. It features the vocal and songwriting talents of Jackie Marshall, Bertie Page, Sahara Beck, Emma Bosworth, Roz Pappalardo, and Kristy Apps. Recorded, Mixed, Mastered, and Co-Produced by Phil Graham.

Performing morality : a framework for assessing the moral significance of selected works of postdramatic performance

This study examines the relationship between aesthetic and moral dimensions of postdramatic performance (PdP) with specific reference to two case studies: The Power of Theatrical Madness (1984) by Jan Fabre; and Inferno (2008) by Romeo Castellucci. These two cases were selected based on Lehmann's (1999/2006) "Postdramatic Theatre" theoretical framework by identifying various aspects of PdP: text, space, time, body and media. There are three primary objectives in this research project: (1) to examine if the selected works of PdP have moral functions; (2) identify these moral functions; and (3) establish a suitable framework to examine and assess the moral significance of the selected works.

Contexts, codes and online communications – a case study exploring issues related to using CMCs in a drama education project

Many educators are currently interested in using computer-mediated communications (CMCs) to support learning and creative practice. In my work I have been looking at how we might create drama through using cyberspaces, working with teachers and students in secondary school contexts. In trying to understand issues that have arisen and ways of working with the data I have found a number of frameworks helpful for analysing the online interactions. These frameworks draw from O'Toole's work on contexts negotiated in the creation of drama and other frameworks drawn from Wertsch, Bakhtin and Vygotsky's work on speech utterances, dialogic processes and internalisation of learning. The contexts and factors which must be negotiated in online communications within learning contexts are quite complex and educators may need to provide parameters and protocols to ensure appropriate languages, genres and utterances are utilised. The paper explores some of the types of languages, genres and utterances that emerged from a co-curricula drama project and issues that arose, including the importance of establishing processes for giving and receiving critical feedback This paper is of relevance to those whose research strategies may involve the use of computer-mediated communications as well as those utilising cyberspaces in educational contexts.

The book of revelations

"Nihilistic act embraces doomsday The Age – December 2012 By Rebecca Harkins-Cross For The Book of Revelations A WOMAN stumbles backwards through the audience, burdened by an overflowing backpack, muttering about the home she’s left behind. When she reaches the mountain onstage, she looks upon its cloud-swirled peak with awe. This stillness is ruptured by an involuntary outburst as she begins spitting out the scourges of the modern world – “nuclear explosion… war… car salesman”, she yells. This is the final show in La Mama’s explorations season, which allows performers to stage works still in development. Devised and performed by theatre maker and academic Alison Richards, it questions our eschatological paranoia that the end times are upon us. It is fitting then that it is premiered on the eve of the Mayan’s prophesised doomsday. Like many pilgrims before her, Ada (Richards) ascends the mountain in search of salvation, but her journey evokes sublime terror; she speaks in tongues, collapses into fitful sleeps. Richards combines operatic singing with an ethereal score by Faye Bendrups, her eruptions into song apparently brought on by the mountain’s ecstatic pull. Richards’ seraphic voice is haunting, the lyrics evoking visions of birth and death. But when Ada finally converses with the heavens, she does not receive the revelations she hopes for: the voice of the divine is nihilistic, urging her to accept the universe’s chaos. While the work is still fragmentary, unfolding like a dream, this is a powerful performance by Richards. Its striking imagery fails to cohere yet in narrative terms, but it is promising nonetheless."

Transmedia Victoria

Christy Dena was commissioned by the Australia Council for the Arts to organise and curate a special conference and workshop event on transmedia. Her brief was to secure all the relevant funding bodies to support it financially (the first time they ever all funded the same event). Christy brought in transmedia professionals from around the world, and targeted directors, writers, designers, and producers, from film, TV, theatre, gaming, music, literature and digital sectors. She curated the audience as well as the speakers. It was a huge success, and follow-up meetups with the IGDA were also organised.

Using digital projection to evoke aesthetic ideas in performance

This practice-led research project investigated the use of digital projection as a compositional tool in live performance. The project was carried out through the creation of a new Australian theatre work called Genesis that poetically integrated digital projection and live performance. The investigation produced a framework for creating powerful theatrical sequences where the themes and ideas of the show were embedded inside particular performance gestures prompting an expanded aesthetic perception of the content.